Handel's oratorio, " Israel in Egypt " and its history is in more than one particular of very unusual interest. It was written in the fall of 1738 (with it we find the same old cause for astonishment, its composition taking but twenty-eight days), and it was first performed on April 4, 1739, at the King's Theatre in the Haymarket, which Handel had leased with the intention of giving oratorio twice a week. It was announced for performance " with several concertos on the organ, and particularly a new one." The oratorio proper was in two parts and was preceded by Queen Caroline's Funeral Anthem in the guise of " Lamentations of the Israelites for the death of Joseph."
A mere perusal of the notices in the London newspapers throws an interesting sidelight on the progress of the chequered career for which " Israel in Egypt " was destined. The public was not pleased. The work was composed almost entirely of choruses, and there was no opportunity presented by its score for the brilliant Italian aria singing, then so fashionable. So, on the 10th, there appeared a notice to the effect that " The oratorio will be shortened and intermixed with songs." And accordingly, at the second performance on the 11th, the severity of the occasion was mitigated some-what by the singing of certain arias from Italian opera by Signora Francesina. There is indeed a tradition that " Rule Britannia " was on one occasion inserted, with what must have been remarkable effect, after the chorus, " He smote all the First-Born of Egypt." The oratorio was then with-drawn; but on the 13th an open letter appeared in the London Daily Post, urging that another opportunity to hear a work so excellent be given to the public. The letter had its effect, for on the 14th the Post made announcement as follows : " We are informed that Mr. Handel at the desire of several persons of distinction, intends to perform again his last new oratorio of ` Israel in Egypt ' on the Tuesday next, the 17th inst." It was again advertised for performance on the 19th, but at the last moment withdrawn in favor of " Saul " (which was much more dramatic and always better liked), and "the famous Signor Piantanida," a violinist newly arrived from abroad.
In fact, " Israel in Egypt " was performed but nine times in the remaining twenty years of Handel's lifetime and then, with the exception of its premier, always in mutilated form. It was only heard as Handel intended it when the Nineteenth Century was well toward its meridian. Another distinction attaching to " Israel in Egypt " is that it is the work which most strikingly demonstrates Handel's proneness to adapt portions of his older work to a new subject, or to borrow copiously from the works of other composers. Just as the " Messiah " is the freest from indication of this somewhat questionable habit, so " Israel in Egypt " is its most striking illustration. Handel has drawn heavily upon a serenata of Alessandro Stradella, of romantic and uncertain memory, as well as upon a Latin magnificat by Erba, a canzona by Kerl, the celebrated German organist, and the works of one Francesco Antonio Urlo, a priest. Of the thirty-nine numbers of the work, sixteen at least are upon the indebted list, which in this case helps to explain the swiftness of the work. The finest of the numbers are, however, not seriously touched by this accusation, and frequently where Handel has borrowed, his magic pencil has in some way infused with the life of his own genius much that was quite uninteresting as it stood.
This practice of borrowing from other works was not uncommon with the composers of the Seventeenth and Eighteenth Centuries, and was not then considered so objectionable as it is considered now. The borrowed material in Handel's works is exceedingly small in comparison with the enormous amount of his original invention.
" Israel in Egypt " is almost purely a choral work. Twenty-eight of its numbers are choruses, many of them double choruses. There are only five arias and three duets in the whole affair. It is only by means of a large body of singers that the beauty and grandeur of these stupendous numbers can be brought out, and the choruses of Handel's day were doubtless inferior to present vocal organizations. In thus giving the place of honor to the chorus, the work was ahead of his time and there is no cause for astonishment in the cold reception from a public that had been educated to appreciate only ballads and sentimental love songs. What-ever there may be to say for and against " Israel in Egypt," the average of critical opinion seems to have it that it is the most sublime and vivid of all the oratorios of Handel — some go farther and say of all oratorios. In its majesty and the fidelity of its tone painting it is the marvel of all who hear it. " Colossal " is the word most frequently met in association with it ; " grand," " mighty," " magnificent," even " superhuman " and " sublime," nothing less is chosen as worthy to express it. It is believed that in this case Handel was his own librettist. The words are taken literally from the Scriptures with a few extraneous additions.
The second part, consisting of Moses' Song of Triumph, was composed first, Handel being afterward struck with the idea that the story graphically told in the Book of Exodus of Israel's escape from bondage and the plagues of Egypt would form a fitting introduction. There are few biblical narratives more thrilling and familiar than this. We find that the peaceful pastoral life of the Israelites is at last made unendurable by a new Pharoah " who knew not Joseph," evidently a despot reveling in his power. The people are put under forced labor in the construction of the new public works at Goshen, and the yoke of the taskmaster lies heavy upon them. When Egypt has been scourged by a frightful plague, the children of Israel secretly plan to escape from their oppression by flying to the wilderness. And so one night in spring they break up their settlement and steal away. The exciting story of their pursuit by the hosts of Pharaoh, their escape over the bed of the Red Sea, and the destruction of the Egyptian horsemen by the returning water is included.
The second part consists of the song of thanksgiving sung by Moses and the children of Israel for their regained freedom, which is concluded by the Hymn of Praise of Miriam, the prophetess.
On account of Handel's intention of prefacing the work with the funeral anthem, there is no overture. It begins abruptly with six bars of tenor recitative, " Now there arose a new king over Egypt, which knew not Joseph." The first double chorus, "And the children of Israel sighed," is eloquent of depression and discouragement. Thereupon ensues a long series of choruses descriptive of the plagues of Egypt, in which all manner of imitative music is frankly and forcibly used. The turning of the waters of the Nile to blood, which constituted the first plague, has its principal treatment in the chorus, " They loathed to drink of the river," in which the disgust of the nauseated Egyptians is described past all mistake. The mezzosoprano aria, " Their land brought forth frogs," has in its accompaniment the lifelike suggestion of the hopping of frogs as they swarm into the very presence of royalty. After the description of the bodily pestilence which afflicted man and beast, comes the magnificent chorus, " He Spake the Word," in which the appearance of " all manner of flies " is indicated by the buzzing accompaniment, which increases to terrific volume as the locusts appear in clouds, to destroy all vegetation.
Most marvelously convincing in its imitation is the " Hailstone chorus," which depicts the fifth plague. The storm grows from a casual patter of drops swiftly to a rattling and then to a terrific beating and crashing, as the lightning, or more graphically, " the fire which ran along upon the ground," fairly digs furrows in its fury. Only a genius of highest rank could have achieved the "Hailstone chorus," which is the most famous number in the work. Almost equally graphic is the chorus, " He sent a thick darkness over the land," the helpless terror aroused by the utter absence of light being transfixed in the score. We fairly see the groping of hands, the sudden startings to avoid contact with what seems like substance but is only masses of darkness. Handel has accomplished the seeming impossible by depicting in sound a soundless thing like darkness.
In the last plague, the fierce wrath of the Destroying Angel is revealed in the chorus, " He smote all the first-born of Egypt."
The remainder of Part I. is chiefly given to the departure of the Israelites. The chorus, " But as for the people, he led them forth like sheep," is in a pastoral style. After the intonation of the words, " He rebuked the Red Sea," the march of the Israelites through the deep is given in splendid swinging harmony. At the words, " But the waters overwhelmed their enemies," the tumbling of the waves as they close over the pursuers is wonderfully imitated by the orchestra.
Part II., or the " Song of Moses," opens with a brief orchestral prelude; then follows the impressive choral declamation, " Moses and the children of Israel sung this song unto the Lord," which at the words, " I will sing unto the Lord, for He has triumphed gloriously," becomes a superb double chorus, fine and bold. The soprano duet, " The Lord is my strength," is followed after an intervening number by the famous duet for two basses, " The Lord is a Man of War." The fact that this portion does not gain luster entirely by its choral pieces is further enforced by the celebrated tenor bravura, " The enemy Said."
The massive chorus, " The people shall hear," is recognized by musicians as one of Handel's greatest choral efforts.
After the beautiful aria for contralto, " Thou shalt bring them in," this Hercules of oratorios " is concluded with Miriam's joyful Hymn of Praise and the great chorus, " Sing ye to the Lord."
The " Israel in Egypt" belongs in a class all its own; in it Handel departed from the conventional Italian manner and created special forms. Manifesting the power of Jehovah, this oratorio presents a story so vast and so sacred in its nature that none other of Handel's oratorios can be classed with it except the " Messiah." Though Handel was in some danger of offending public taste by his free handling of this Bible story, yet so skilful was he in his portrayal, that though he sacrificed none of his musical instincts, neither did he wound the feelings of the believer. Consisting, as it does, of a series of marvelous tone pictures in massive choruses, which for depth of pathos and power of description have never been equaled, the solos, coming so rarely, give the effect of having been dropped in by accident.
